CINE World 14 (Jan 1967)

VSCHiI GinAss

A CANADIAN MAGAZINE
Sof

ie Al eelénde

&

CINE World
Best Wishes

or A Happy
An as Aaah

|
‘Day wy Meor

1967

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A SPLIT SECOND
IN ETERNITY

2 90 se er aot

The Ancients Called It
COSMIC CONSCIOUSNESS

Must man die to release his immer con-
sciousness? Can we experience momentary
flights of the soul—that is, become one
with the universe and receive an influx of
great understanding?

The shackles of the body—its earthly
limitations—can be thrown off and man’s
mind can be attuned to the Infinite Wisdom
for a flash of a second. During this brief
interval intuitive knowledge, great inspira-
tion, and a new vision of our life’s mission
are had. Some call this great experience a
psychic phenomenon. But the ancients knew
it and taught it as Cosmic Consciousness —
the merging of man’s mind with the Uni-
versal Intelligence.

Let This Free Book Expiain

This is not a religious doctrine, but the
application of simple, natural laws, which
give man an insight into the great Cosmic
plan. They make possible a source of great
joy, strength, and a regeneration of man’s
personal powers. Write to the Rosicru-
cians, an age-old brotherhood of under-
standing, for a free copy of the book “The
Mastery of Life.” It will tell you how, in
the privacy of your own home, you may
indulge in these mysteries of life known
to the ancients. Address: Scribe F.C.N.

She ‘Rosicructans

(AMORC)

SAN JOSE, CALIFORNIA 95114, U.S.A,
Please Include Your Zip Code

pant

a LOUTH RR eevee

Another Canadian Gal,
Beautiful

SUSAN CLARK

Is Doing Well
In Hollywood

By RON RIEDER

Hollywood—

When it comes to family trees, Susan Clark has roots
that run deeper than the famed California redwoods.

Susan, talented actress who will make her American
- movie debut early in 1967 in Universal’s “Banning,” was
born in Sarnia, Ontario, but her bloodliness link her with
leading families in England, Ireland and United States.

Susan’s paternal great grandmother, Lady Eileen Fitz-
gerald, a relative of the late President John Fitzgerald
Kennedy, broke with stolid Irish tradition by marrying a
Protestant. However, he wasn’t just the garden variety of
Protestant. He was a titled member of the aristocracy,
Baron Raymond Clark.

Needless to say, baron or no baron, great grandfather
Clark was still a Protestant and as such he found his
Catholic surroundings somewhat less than cordial. So he
packed up his title and his bride and migrated to Ontario,
leaving his land and. property in Ireland to eventually
revert back to state ownership.

In sparsely populated Ontario of his day, Baron Clark’s
grand title and documented linage went pretty much un-
noticed. Certainly the Indians weren’t the least bit im-
pressed.

And when Lady Eileen bore her husband a son, even
he was to dismiss his noble heritage with a casual shrug.

5

In fact, when young George (Susan’s grandfather)
came of age, he gave into an urge to travel and struck
out for the Virgin territory in the Yukon where, as Susan
puts it, “he had a damned good time and brought back a
few gold nuggets to prove it.”

George finally settled down and married into the Cuth-
bert family, a noteworthy clan in its own right. It was a
Cuthbert who founded the first Protestant church in
Quebec.

What does Susan think of it all?

“Of course, it’s all quite fascinating,” she admits, “but it
actually means so very little in 1966. I leave all that sort
of heraldry to my old maiden great aunt in Ontario. My
career as an actress depends solely on my own individual
qualifications and I wouldn’t be any better or worse as a
talent even if I were the daughter of the Queen Mother
herself.”

Where has her talent taken her?
In her first American film “Banning” Susan has a top-
featured role as Guy Stockwell’s stately wife in the sex-
filled expose of the exclusive country club set.

Susan has been acting professionally since the tender
age of 11. Summer stock, other stage work in Canada,
United States and England and television has taken up
her time until the “Banning” role. She landed the part
after being referred to Elenor Kilgalen, Universal’s talent
agent in New York and in turn to “Banning” director Ron
Winston.

The only thing left is vital statistics which her Holly-
wood press releases give as follows: Height five foot seven
and a half inches; weight 128 pounds; hair auburn; eyes
gray-green. Put all these together and it spells Susan
Clark, Canadian actress on her way up.

ELVA STROM

93 CHILTERN HILL RD.
TORONTO 10, ONT.
787-3012

Mimeographing

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FIRST CANADIAN: @
SOUTH AMERICAN @
CO-PRODUCTION

Love ra Stianger

Special to CINE World

_Montevideo—

_ Suiely the first of its kind, the Canadian-South American feature
film co-production ‘Love With a Stranger’ (working title) is now being
~shot m Eastmancolor, in and around Montevideo. Well on the way to
completion, the shooting schedule is about seven weeks.

The story, which deals with a controversial mother-daughter-lover

triangle, was written by English writer Margot Stevens, and has since

' been especially adapted for setting in South America. Producers of

* ‘Love With a Stranger’ are: Executive Films of N.Y., Independent

Film Associates, and Orion Studios (Montevideo). The film will be
released and distributed through Executive Films of N.Y.

The film, which aims to capture a natural realism, wherever pos-
sible utilizes location settings. Well-known Canadian Director of
Photography, Stanley Lipinski, has been flown down for the entire
filming. Lipinski, who as well as doing considerable filming for the
C.B.C., was also the cinematographer for ‘Room for a Stranger’. He
has recently just completed the Canadian feature film ‘The Offering’
for David Sector. However, other crew and cast, are made up of local
technicians and artists. Director Ted Leversuch is delighted with the
locals and firmly believes in the scope for future co-productions here.

Lead roles in the film are played by French actor Martin Lasalle

8

(the lover), Rica Bergman, flown in from Los Angeles, who plays the
daughter, and Elsa Guirot, who plays the mother.

Martin Lasalle: in addition to his work in Europe, is an accom-
plished actor in the Argentine, experienced in film, theatre and tele-
vision. In 1960 played the lead in Robert Bresson’s film ‘Pickpocket’.
Was a Member of the Actor’s Studio in N.Y. 1961-1964. Played
lead in N.Y. feature film ‘O.K. End Here’ which won Ist prize at
Locarno Film Festival 1963, and was selected American entry in
N.Y. Film Festival. Also had lead role in ‘Acteon’ a film by Jorge
Grau, made in Spain in 1964, and attended Moscow Film Festival
1965 as representative for that film. In 1965 did television drama in
Spain and some in New York with Janice Rule, Maurice Evans. His
next scheduled film will be made by Torres Nilsson in Peru, at the
end of the year.

Rica Bergman: a stunning German girl of Swedish extraction,
while only twenty years of age, has proved a definite natural talent in
the film. After studying acting as a teenager in Germany, she came to
Toronto and modelled Village fashions, with the occasional television
commercial. From there she moved to Los Angeles and into television
work. But Rica still keeps an apartment on Yorkville, and between
working dates gets to Toronto to visit friends and buy fashions. An
ambitious young lady, she is already working out details for another
leading role, slated for December, and plans to firmly establish her-
self in cinematic circles.

Elsa Guirot: a competant television actress and radio artist in

Montevideo, who, when not playing the part of a susceptible widow,
even dose a little Shakespeare.

Additional Cast:

i GSO PIER, Sf hot Lene ROOM TATORE ge SOE. Pie sO ET Lo OEEE Sergio Regules
Oe ah iss ah if addiodgs I a they Fred Deakin
a I EM i ORO Carlos Kanarek
2 BRIE AMSA R Die IE ie SAL TURAL Nes Caroline Barberot
SS EEG aR See 8 OO le ME Horacio Flores
Ite. Ad... ss... Ee casey IG ee DL pepe Oscar Azuri

Love With A Stranger — Continued

Production:
TOON a AE 2, INE PR OI IPD? Leer Ted Leversuch
PBS ATO EPMA ta ae. 2 Ed Leversuch
API EOC AES TAFE He ia BI Stan Lipinski
A radatet @ ere 8 BE EASE © oes Ae 5) ere Juan Roca
Rest Gam: Operator 2. F828? Pie BE. Juan Jose Gutierrez
ills en = ee OE Es ZT Ferrucio Musitelli
NS Pe Feo eid ei pel ee el ter Bee 1k Sg a ia? Cec Tiboni
Serie See ee eee Araceli de Tezanos
TroguucmOn wianacer <2 * 4 Pe Bits he ee eee Carlos Bayarres
Production Asst. ...... Sr ee On, ena ete George Bayarres
Ge Besigh * 2 Bees : Seis is Se Ae ie Vent Be Arturo Farre
POPGTES 5c oe Marta Degener
POC 2 aie ees Alex Lab. (B.A.)

The producers gratefully acknowledge the co-operation of the
Montevideo Police Dept.

To: CINE World
Box 86, Toronto 9, Canada

Please find enclosed $2.00 for my year’s subscription of CINE World
(6 issues). WE AED ; 7

Province Gr State 1200. RE Country ........... OE,

10

ilms
e gan : ec Biiene-Greens

Films are so much a part of our everyday lives that few people
ever give a thought to their invention. Ask any cinema-goer
when moving pictures were invented; ask any so-called enthus-
iast the name of the inventor; ask about the earliest ‘‘talkies’’.
You will be surprised at the answers (if any) you will receive.

For years there have been disputes about who invented motion
pictures. | can tell you right at the beginning that my father,
William Friese-Greene, was the first to apply for and obtain a
patent for a moving picture camera in June 1889; and a later
patent, to make it possible to produce motion pictures as we
know them to-day. (British Patent No. 10, 131, June 1889).
Yet long before that year, in 1885, my father had alighted on
the secrets of the motion picture.

It is with all due modesty that | place on record the fact that
my father was an extraordinary genius; like many other men
with fertile brains, he did not get his reward.

It was in 1887 that my father conceived the idea of linking
up the newly-invented phonograph of Edison Bell with photo-
graphed movement. In 1889, after he had been struggling
month in and month out to perfect this idea, he alighted on a
solution and sent a description of it to Edison. He asked the
American to co-operate with him and produce talking pictures.
That was in 1889. |

‘Tl

Mr. Edison, being a shrewd man, was obviously interested in
such a project. He sent a request for the drawings of the camera
patent; but nothing further was heard from the Edison officials.

First, however, let me tell you of my father’s early days.
William Friese-Greene was born at Bristol on September 7,
1855 and was educated at the Blue Coat School, Clifton. He
was very young when he became interested in photography,
then at the beginning of its development. It was in 1882 that
my father and John Arthur Roebuck Rudge, who had devised a
projection lantern, which he called the Bio-Phantoscope, joined
forces. Rudge incidentallly was the first man to run an electri-
cally propelled boat (his own invention) up the River Avon, at
Bath. In St. Michael’s Cemetery, Bath, there is a tomb on
Rudge’s ‘grave, with an ‘inscription recording his inventions; a
tablet to the joint memory of Rudge and my father has been
affixed to the wall near the house where Rudge lived in Bath.
Rudge produced what he called ’’Life in the Lantern’, using 4
by 5 inch glass plates, with an oscillating shutter, made of two
leaves and opening and closing from the centre. As the shutter
closed over one plate the next plate was advanced between the
light and the lens, and this gave the illusion of animation.

It was this device that gave my father his first idea for mo-
tion photography. He made several improvements on Rudge’s
invention, and in 1885 gave an exhibition before the Photo-
graphic Society of Great Britain. Rudge, by this time, had died
and my father had to continue his experiments alone.

Two years later my father had still further improved his lan-
tern. He was a very successful photographer in Piccadilly, Lon-
don. Further fame and notoriety came his way when he drew
such large crowds to his studio by the exhibition of his “moving
pictures” that the police compelled him to stop the exhibition.

| want you to notice that | stress the fact that he was a suc-
cessful photographer. He had money then. But so keen was he
on his invention that he had lost every penny and had actually
been imprisoned for debt before he died dramatically while
addressing a meeting of film men at the Connaught Rooms,
London, on May 5, 1921.

The search for a suitable flexible material for negative and

12

positive prints gave my father a great deal of anxiety. He
realized that true motion picture photography could never be
obtained satisfactorily with glass as a basic material. Then, in
1888, he found what he had been seeking. He devised a camera
that enabled him to take pictures in series on strips of sensitized
paper of a length as great as fifty feet. It was with this camera
that he photographed a street scene at Brighton that gave him
proof over an Edison claim in the United States courts more than
twenty years later.

It was for this case that my father made his first and only
visit to America in 1910. This action definitely proved that my
father, and not Thomas A. Edison, first conceived and invented
the cinematograph camera, and that it was also W. Friese-
Greene who first thought of linking sound and photographed
action together.

When the case was heard in the United States Circuit Court,
South District, in December, 1910, that street scene at Brighton
was invaluable.

With a camera built for him by R. Chipperfield of Clerkenwell
Green, London, my father was able to take photographs on a
sensitized strip of paper, at the rate of seven or eight a second.
But the problem was, when the reproduction of life motion was
needed, how to prevent the paper from breaking.

A solution was found in celluloid, which had then begun to
appear as a substitute for the glass plates used by photo-
graphers. One of the manufacturers of celluloid was Mr. Alex-
ander Parker, of Birmingham. My father got in touch with him
and told him of his problem. The two men worked and experi-
mented until in that same year another camera was invented,
that was able to take celluloid film. This was what was known
as a stereoscopic or di-optic camera. It had two lenses side by
side, but could be used as a single camera merely by closing
one lens aperture.

It was in January, 1889 that my father took his first motion
picture with celluloid. This was a scene in Hyde Park, showing
Mr. Alfred J. Carter strolling with his son, Bert. This strip of
film, by the way, was also used in the American courts to prove
my father’s case against The Edison Trust.

There was one objection to this camera—the size of the pic-
ture. The next advance was a camera constructed for him by
A. Lege and Co., of Hatton Garden, London, and delivered in
the summer of 1889. This used tooth sprockets and was de-
signed to run perforated film, slightly less than 2/2 inches wide.
Twelve pictures a second could be taken with this camera, and
its first experiment was a scene in the King’s Road, Chelsea,
early in 1890.

1887 —— The First Cine Camera

In association with Mortimer Evans, an engineer, my father
obtained a patent for a ‘camera for taking pictures at a rapid
rate.’ This was on June 21, 1889, so that it was on this date
that (officially) the first cinematograph camera was born. Few
people were very excited about this invention. In fact not until
November 15, 1889, when ‘The Opitical Magic Lantern Jour-
nal’’ gave the news to the world, did anybody realize the possi-
bilities of the invention. Although the daily and weekly news-
papers commented on the article, the whole idea was so fan-
tastic and far-fetched that sneers, rather than cheers, welcomed
the invention. Let me give you a short extract from that article
of only 43 years ago.

lt was headed ’A Startling Optical Novelty-Photoramic and
Phon-Photoramic Effects.’ “‘Imagine the sensation,”’ the article
said, ‘‘that would be produced, if the whole of the recent Lord
Mayor’s Show were to be presented upon a screen exactly as seen
by a person stationed at one particular point looking across the
street. The house on the opposite side would remain stationary
and the procession would pass along, each minute movement,
as it actually took place at this given point, being represented.

“The name of Friese-Green, the eminent photographer of
Brook Street, W., will become familiar throughout the land in
connection with an invention by which all these effects can be
produced. He has invented a peculiar kind of camera—to out-
ward appearances not unlike an American organette, handle
and ail—about one foot square. The instrument is pointed at a
particular moving object and, by turning the handle, several

(Continued on page 19) .

14

KEE RE KEG EGE REE KEE EEG ERE EEG

Throughout this issue of CINE World are depicted Europe's answer to
America's "'sex-starved"’ tastes. Beauty queens like USCHI GLASS,
UTA LEVKA, EVA RENZI, CHRISTA KLEEFISCH. GISELA HAHN
from Germany; France's MARIE VERSINI and Madrid's MARILU

TOLO will be invading our screens shortly.

KE KEK

KEE EEE EGE EE EGRESS EGRESS ES

CAE EE — i

(Continued from page 14)

photographs are taken each second. These are converted into
transparencies and placed in succession upon a long strip, which
is wound on rollers and passed through a lantern of peculiar
construction (also the invention of Mr. Friesce-Greene) and, by
its agency, projected upon the screen. When the reproduction
of speech is also desired, this instrument is used in conjunction
with the phonograph.”’

Do you hear a faint echo of the word “‘talkies’”’ drifting back
through the ages?

But although he had gone so far, nobody else would get any
farther. Unbelievable though it seems to-day, nobody could
then see the commercial possibilities of this invention. Certainly
the War Office did go so far as to ask him to go for a whole
day to the Isle of Wright to conduct experiments with this new
camera, for which he was paid the munificent sum of five
guineas. The first report contained the momentous statement
that the new invention ‘might be useful for balloon photography
in war-time.’ Shades of 1914-1918!

My father had spent no less than £10,000 of his own money
on experiments. What was worse, he had neglected his previous-
ly prosperous photographer’s business to further his invention.
In February, 1891, his home and practically everything else he
had were sold to pay off his debts. Even this failed to quash his
enthusiasm. He knew that he had a marvellous invention and he
was anxious for the world to realize its possibilities.

Colour on films was the next thing to which he set his active
brain. As far back as 1903, when | was only a child of five, he
had perfected a colour scheme of cinematography. He took a
picture of me in our garden at Brighton. | was waiving a Union
Jack (it was just after the Boer War) and the red, white and
blue came out remarkably distinctly.

| have always felt that his true worth has never been thor-
oughly appreciated. One possibly does not expect the general
public to appreciate his work, but those men in the industry, to
whom my father’s invention has meant so much, might have
been keener to have praised where praise was due. Don’t ima-

19

gine for one moment that | am ungrateful, but | do feel that a
little more might have been done. In 1916, for instance, when
| was with the Cinematograph Branch of the Royal Flying Corps,
my father’s resources were so low that a public subscription was
opened. The sum of £136 os. 2d. was raised.

Five years later he died, at the age of 65, after making a
moving speech, full of sincerity and sound commonsense, to a
group of film renters, exhibitors and producers. British films
were in a sad state at that time. Wrangling and differences of
opinion only accentuated the plight of the industry. My father
endeavoured to get these people to see the folly of wrangling.
He tried to make them realize that co-operation was the only
thing to prevent America getting the whole of the film monop-
oly. He altered the tone of that meeting and then went back to
his seat and died.

Two policemen took him to the nearest mortuary. In his
pocket was a cheap, well-worn leather purse. Inside were a few
coins that came to the grand total of one shilling and tenpence
—all the money he had in the world.

One and tenpence—just enough to buy a seat at the pictures.

(Reprinted from the World Film ii eee published in
London, Eng., in 1933).

CINE World is published by CINE World Publications; K. Godzinski, Publisher.
Subscription in Canada and U.S.: $2.00 per year (6 issues); Foreign $3.00;
Single copy: 35¢. Mailing address: Box 86, Toronto 9, Canada. Advertising
rates upon request. Printed in Canada. Signed articles represent the views of
their authors, which views are not necessarily shared by the editors and
publishers. Vol. 3 No. 5 (14) 1967

20

Poland’s Best Actor
Dies At 39

Zbigniew Cybulski, the Polish actor whose frog sun-
glasses were an emblem to a generation, died when he
was boarding a train for Warsaw after filming. A
friend tried to haul him to safety but the young hero
of a period had grown too heavy, and he slipped be-
tween the train and the rails. His age was 39.

We had known his work for less than eight years;
the quality of the films in which he appeared was er-
ratic; but the disappearance of a personality both ap-
pealing and powerful leaves one with a feeling of be-
reavement.

His celebrity began with his performance as the
counter-revolutionary boy in Wajda’s “Ashes and Dia-
monds.” The film was not his first, but it had a quality
of sudden, inspired achievement; and the blunt vul-
nerable face behind its heavy glasses rapidly became a
kind of symbol for the post-war Polish screen.

He was immensely impulsive, convivial, accident-
prone and superstitious. He played occult games with
himself, sometimes about having to tread on the nail-
heads in floorboards. When he had made ‘To Love’ in
Sweden he bought a Volvo, without altogether taking
into account that he couldn’t drive. As a younger man
he had been involved with a company called the Bim-
bom Theatre, putting on plays by writers like Sartre,
Durrenmatt and Ionesco.

21

FESTIVAL II
IN TORONTO

A nine day International Film Festival, sponsored by
The Toronto French School, will be held at the Crest
Cinema, May 8 to May 16, 1967.

eee

ATTENTION

SUBSCRIBERS & FRIENDS OF CINE World

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Mr. Dodd is authorized to accept subscriptions and payments
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Subscription: Canada and U.S. $2.00. All other countries $3.00.

22

ida

kaminska

by maria sten

Ida Kaminska’s performance in “Frank V” by F. Diirrenmatt was the
hit of the 1962 theater season in Warsaw. This was the first time that the
celebrated Jewish actress appeared on the Polish speaking stage. The
public greeted her appearance with a round of applause every evening.
‘One may agree or disagree with her interpretation of Otylia Frank, but
the fact remains that the audiences immediately sensed an extraordinary
personality i in this small, bent woman and succumbed to the charm of her

genius.

~ This venerable artist (she has been on the stage more than fifty years)
does not have a captivating beauty nor does she appear in artful cos-
tumes. The secret of her popularity lies elsewhere: in her forceful person-
ality which dominates the stage and that magnetic quality which consti-
tutes the secret of great acting.

Ida Kaminska is endowed with an artistic temperament that rushes in
a stream of passion and vivacity, in a desire to act, to reform and to
change. She possesses an inexhaustible strength and spirit. If she did not
act, she would probably travel in a circus wagon or camp like a gypsy.
She is compared to Ethel Barrymore in the United States. Both hemi-
spheres know her as the daughter of the famous Esther Rachel Kaminska,
“Mother of the Jewish theater,” and the most pathetic mother on aad

Jewish stage.

A conversation with Ida Kaminska is full of reminiscences interrup-
tured constantly by affairs connected with the theater of which she is a
director (the E. R. Kaminska State Theater in the Jewish language).

_. Ida Kaminska made her first stage appearance at the age of five. From
that day she has appeared on the stage for the past fifty years. She spent
her childhood and youth at the side of her great mother (“it is hard to be
a good actress with such a name”). Ida Kaminska and her large family
travelled by coach to the small Russian towns which had a large Jewish

23

population at the beginning of the 20th century. These towns still live in
Chagall’s pictures and Isaak Babel’s stories. The harsh conditions. of
nomadic life in the vast unbounded regions and bad roads of Tsarist
Russia took their toll. The only survivors were Ida (born when her parents
were appearing in Odessa) and her brother.

In the Nineties of the 19th century, her parents Moat their own
troupe in Warsaw and in 1913 established the Kaminski Theater which
burned down during the last war. The theater is now rebuilt and forms
a part of the House of Jewish Culture in Warsaw. Meanwhile, Ida
Kaminska developed her talent, first in operetta and later as a dramatic
actress. After her mother’s death in 1925 Ida succeeded to her place in
the theater. Fearing Nazi persecution, Ida Kaminska escaped to Lvov dur-
ing the Second World War. After long years of vagabondage and social
work during the war, Ida Kaminska returned to liberated Poland where
for the first time a State Jewish Theater was established in 1945 — the
Esther Rachel Kaminska State Jewish Theater. Ida Kaminska is its ad-
ministrative and stage director, first actress and untiring propagator of
Jewish culture. |

The theater’s repertory ranges from Moliére to Brecht, from Sholem
Aleychem, a classic of Jewish literature and Anski’s “Dybbuk” to Orzesz-
kowa’s “Meir Ezofowiicz’” and Casona’s “The Trees Die Standing.” This
is a socially committed theater not only with an excellent form of presen-
tation but also a deeper inner sense which compels the spectator to think,
to confront drama with reality. This theater evokes the irrevocably dead
past of small Jewish towns, Jewish folklore and Jewish folk wisdom.
Curious, that this theater performing in Jewish should attract Polish audi-
ences. Although they do not understand the language (the Polish transla-
tion is given over the earphone system), they attend the performances in
order to learn about the culture of this ancient race whose history is so
inextricably bound with that of Poland.

- Ida Kaminska’s late debut on the Polish speaking stage is not extra-
ordinary, as she herself claims. The language is not important because
she feels equally at home in both Jewish and Polish. The important thing
is the theater itself, the opportunity to play and to transmit intrinsic ar-
tistic values. “My life has bound me eternally with Jewish culture and the
Jewish language. It could have been otherwise. The drama lies elsewhere.
My parents’ theater wrested with terrible difficulties but it had a public
which understood its language in every town. Today, when I have the
opportunity to direct a State Theater that public has disappeared.”

These are not bitter words. They contain an understanding for the
tragic events of the last twenty years.

_ ED. NOTE: Madame Kaminska was introduced to the North Amer-
ican audiences last year in the famous Chechosloviakian film “Shop on
Main Street’.

td i ~ X s s e s, ES ee ed Bi Pa TR ee

Ce OF ERR OOO HOO Re FH HNO e OO OOOO + 454 OF 6 OO OOO de OOD

A limited number of the following issues of CINE World is available

from our Mail Order Dept.:

Vol. 1: No. 1, No. 2, No. 3
Vol. 2: No. 1, No. 2, No. 3/4, No. 5, No. 6
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26

HALLO FROM GLAMOURTOWN:

* Harry Saltzman, the Canadian who hit it big with the
James Bond craze, sez despite Sean Connery’s latest_state-.
ments about no more Bond-age, “we can’t stop making
them because of him.” The current “You Only Live
Twice” Bond epic is nearing completion at a nine-million
dollar budget.

* Roger Corman will coproduce “Judas” in Tsrael with
Noah Productions, company based there. Sharon Comp-
ton’s script will be based on findings of the Dead Sea
Scrolls. Corman currently is producing-directing “St. Val-
entine’s Day Massacre” for 20th-Fox.

* Edmonton-born Beverly Adams took off for London
and “Torture Garden”, but before she left her two room-
mates gave her a surprise 21st birthday party.

* Hottest piece of property to come out of Italy in
many a day is Virna Lisi who brought her Hilywd press
conference to a boil by rapping countrywoman Gina
Lolobrigida for appearing in the all together on film. To
keep tongues wagging, Virna just completed two dramatic
roles for Carlo Ponti, husband of Sophia Loren. She de-
buted in Hllywd two years ago when she took home a
mere $15,000 for “How to Murder Your Wife.” Today,
three Hllywd pix later, her asking price is $300,000 before
she steps in front of the cameras.

FILM FACTORIES: Hiring and firing are the daily
doings at Paramount since the huge lot was sold to Gulf
Oil etc. interests. You have to read Variety every morning
to find out who is in and who is out . . . $10,000,000
“Camelot” went before the Warner Bros. cameras in De-
cember under personal production of Jack L. Warner.
Jack is the guy who did not want to “take a chance” with
Julie Andrews when making “My Fair Lady,” went with
Audrey Hepburn who can’t even sing. Now Julie, who
Broadwayed both “Lady” and “Camelot,” is unavailable
due to heavy demands . . . Liz Taylor and Burton have
formed their own film factory called Taybur. Will grind
out “Osmosis” as first effort beginning next fall .. . After
Robert Wise came up with what probably will be biggest
money-makers of all time, “Sound of Music,” 20th gave
him blank check for “Sand Pebbles” which he filmed in
Hong Kong and Formosa, soon to be released.

MARRIAGE MILL: Natalie Wood telling friends she
will center aisle it with her manager after long dating ses-
sion with Warren Beatty who was it after she shed Robert
Wagner . . . Ann-Margret, currently in the big push for
“The Swinger,” has cooled the hot and torrid stuff with
Roger Smith. —

TWOSOME TIME: Jean Paul Belmondo and Ursula
Andress . -. Leslie Caron and an Italian prince (two or
three trans Atlantic calls a day) ... Zsa Zsa Gabor and
Joshua Cosden Jr. who commutes from Dallas . . . Thordis
Brandt (German beauty who spent her childhood in Can-
ada) with Peter Deuel . . . Vivacious Joey Heatherton
and singer P. J. Proby.

CANDIANA: Fifi d’Orsay (Quebec) linked by Warners
for “The Assignment,” her first non-French role in her

40-year career. She plays a German . . . Motion Pictures
International to shoot “The Fox” in Toronto beginning
early in ’67 . . . Montreal is where some of the scene for

“Wait Until Dark” will be filmed by Warner Bros... .
Glenn Ford (Quebec) returns for 20th starring picture
“Pistolero,” another oat burner. . . . Norman Jewison
(Ontario) will direct “In the Heat of the Night” a who

27

done it for Mirisch . . . Yvonne De Carlo (Winnipeg) is
feminine lead in Huntsville now filming at Paramount.

TOLD YOU SO: As predicted some time ago in this
column. Raquel Welch is soaring to the top as the movie
sex queen. She already has had several big spreads in
national magazines such as Life and others. Thot you
would like to see another pic of her. Her only flick out so
far is the $6,500,000 “Fantastic Voyage.” ‘

Las Vegas is becoming the camping ground for Hllywd
dancers. Work is regular and the dancers can knock off
for picture work. Shapely Rosalie Shay (see pic) is one of
those who commutes from the gambling capital for movie-
tv work on the coast.

HOW ’BOUT THAT: Actress Suzanne Lloyd, in Paris
working on Universal’s “The Scandal” with French director
Claude Chabrol, sipped wine and conversed in French
during lunch. The crew was surprised at her almost per-
fect pronunciation until costar Anthony Perkins explained
Miss Lloyd is of French Canadian lineage.

EDITORIALLY SPEAKING: Longer and _ longer
movies are flowing from Hilywd. Each company seems to
be competing for length, but the only result seems to be
poorer and poorer, more expensive film footage. Overhear
at one longy—‘“Luck there is an intermission. It gives
half the audience a chance to go home.”

«« « thats the way i see 1.

cc(_(_(_C_HKe«7-__ nl

RAQUEL WELCH [)

28

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